Hanlon 1858 - 1869

Editor: So, this is Jeremiah Gurney's "Hanlon," an albumen print, placing it squarely in the 1858-1869 era. There's a stillness to it. He seems posed, but the outdoor setting adds a touch of casualness. The man's holding what appears to be a stack of papers, or perhaps a newspaper. What draws your eye when you look at this, our expert? Curator: Well, first, there’s the very tangible sense of… patience, wouldn't you say? Think about it – the sitter holding perfectly still, the long exposure time. I always imagine these shoots with a palpable, held breath. And then there’s that slight blurring - an imperfect translation to the photograph! The set seems so studied. It reminds me of theatrical backdrops - rocks, leaves, perfectly placed… it’s almost… staged. Is he an actor? What's the significance of the newspapers he holds? Are they reviews, scripts...? This might not be Realism in the raw, but something much more intriguing, isn’t it? Editor: That's interesting – staged! I hadn’t considered that. It does have a performative quality, doesn’t it? The carefully positioned rocks, the slightly affected pose. Do you think the ‘imperfection’ is more revealing about the limitations of the photography than the person? Curator: I think you’ve hit upon something quite profound. It exposes not only the subject but also the technology and artifice of image making at the time. That staged aspect can speak volumes… like revealing an unspoken layer to a seemingly plain surface! It is definitely something to contemplate here. What new impressions did it spark for you? Editor: Thinking about the staging has made me consider how the photographer shapes the story, even in a portrait. It's not just a record; it's an interpretation. Curator: Precisely! We began thinking that this piece was still and staged, maybe to a fault; now it seems that this still albumen print carries a great burden of revelation. And it makes us reconsider what is 'real' from art itself.